First You Dream, Then You Die

BATES MOTEL "First You Dream, Then You Die (PILOT)" Advanced Screening Review Courtney Garbera

As the pilot episode of A&E's Bates Motel drew to a close, I actually dreaded not knowing what was going to happen next. I wanted it to continue and had hoped that a bonus episode would close my night out. But, alas, I must wait with the masses to find out how this contemporary prequel to Psycho unfolds.

Starting out with a death, Bates Motel automatically introduces us to Norma and Norman Bates (played by Vera Farmiga and Freddie Highmore, respectively). Young Norman is dragged by his mother to a dingy motel in what appears to be a small and quiet town. Their relationship isn't inappropriate, yet the lingering looks and constant touching make this mother/son relationship borderline disturbing. The chemistry that Farmiga and Highmore have is what will definitely make this show a much watch, wanting to see how this doomed relationship plays out on our television.

I do not wish to reveal much more of what happens in the pilot, for fear of being taken out by a sniper hired by A&E. However, I can say that this show will most likely be a critical darling, yet may struggle to find an audience. Disturbing and mysterious, this show evokes Poe as much as it does Hitchcock, a show the masses may not appreciate. I wait eagerly for March 25th, when I can see the second chapter of this intriguing prequel. Well played, A&E. Well played.

It was well written, tense, the foreshadowing was a little on the nose. The acting of our leads was great. There is one scene in the middle of the episode that went WAY farther than likely neccessary. But, I want to see where the show goes from here.

Bates Motel offers a good deal of things to be grumbled about: setting the backstory to Alfred Hitchcock's classic Psycho in contemporary surroundings would be one. Embroidering the 1960 film noir's rather complete story in the first place, apparently for no other purpose than NBCUniversal holding the rights for it, another. Those I could reconcile myself to, but the programme falling prey to one of the most prevalent faults in present-day television is what disappointed and irked me, considering that however hostile you may be to the whole idea of this production, the Psycho 'universe' holds a potential for engrossing television.

This metaphorical blow to the face of viewers asking for more than just diversion I'm referring to is, of course, Bates Motel passing up the prospect of a pilot that properly establishes characters and situations in favour of one that hurls action and violence and surprises at its audience, regardless of that being most incongruous at such an early stage, in a desperate attempt to secure financially adequate ratings. There is justification for the existence of a standard storytelling formula involving a gradual build-up to a climax and, whereas someone as Alfred Hitchcock can use a non- observance of that practice - murdering his film's presumed lead early on - for a virtuoso plot twist, a less Hitchcockian director such as Tucker Gates or three less Hitchcockian writers such as Anthony Cipriano, Carlton Cuse, and Kerry Ehrin might not be able to.

Why am I saying 'might not'? They were not. The rape/murder scene taking place at about the halfway point of "First You Dream, Then You Die" is unfitting and unnecessary on various levels and poorly executed to boot. It did commence appealingly, but as soon as Keith Summers, the former proprietor of what now trades under the name of Bates Motel, stops by for a late visit that turns out not be for coffee and cake, the entire sequence goes down the tube. Honestly, if the writers decided to equip this man with a moustache to bring out a resemblance between him and Hitler, it would be compatible with the rest of his character in every respect, since he is depicted as quite the incarnation of evil. - Isn't it peculiar that I've never come to meet such a person in real life, yet I stumble across them all the time when watching sub-par films or television?

Be that as it may, this amalgamation of Adolf Hitler, Osama Bin Laden, and Anders Behring Breivik then begins to abuse Norma, something that Gates and the writing squad were, for whatever reason, keen to show on screen, and the audience is put through to what feels as long as a minute of staged rape that is ultimately put an end to through a slightly tardy deus ex machina in the form of Norman. Adolf Bin Breivik is laid out, mother and son proceed to handcuff him (instead of using the manacles to bind him to the table, which would prevent any further bother), and Norma forgets to be angry at her son for having sneaked out of the house beforehand, even though he could have deus ex machinaed much more timely had he stayed. *mutters insults at the idiocy of everything that has occurred up until now*

As Norman simply leaves for a moment - making himself a sandwich or something, I have no clue Adolf Bin Breivik gets back up, which causes Norma to knife him to death, which in turn leaves the Bates family with two or three fairly urgent items on their to-do list. The approach that is arrived at is not to make the incident public (although Rape/Murder Motel would have been a more thrilling title for this programme, if you ask me) and the outcome is probably the first brick in Norman becoming a little mad sometimes later in his life.

There's more to "First You Dream, Then You Die" than this one sequence, but it clearly represents the general problems of Bates Motel. Intriguing moments – the foreshadowing in lines such as »As long as we're together, nothing bad can really happen.« for example, together with Norma and Norman's odd relationship or Norman's discovery and the final scene somehow related to it – can be counted on the fingers of one hand, and despite Freddie Highmore and Vera Farmiga acting very well, the pedestrian writing impedes the develop-meant of any connection to them.

Twelve cabins, nine notations: • Teenage girls, do not offer a boy you've only just met a ride, he could be a serial – oh, wait… • Selfies within the first ten minutes– Hitchcock would have been proud. • »I thought I was going to study, but they took me to a party.« – Extraterrestrials having abducted you would be a more credible excuse than that, Norman. Seriously, this young man needs to get his s h i t together. • Parents of adolescents ought to show their progeny this episode, as it teaches them a lesson on what will happen if they secretly leave their homes. Their mothers will be raped. • "The air in Arizona" – From now on, Deputy Zack Shelby will only be known as 'Bad Pun Cop' in my reviews. • Why are the policemen switching on the blue lights when driving away from the motel? And, perhaps more importantly, why did they even go there? If there were indications to the disappearance of Mr Summers, I assume they'd ask some questions. • Don't cadavers have a certain distinguishable odour to them? And wouldn't a Sheriff smell one that is lying right next to him? • It seemed to me as if Norman was not vomiting but spitting out a mouthful of orange juice. Well, that is the least of Bates Motel's flaws, I guess. • Is it normal for oxygen tanks to look like decorated metal umbrellas?

"First You Dream, Then You Die," the pilot episode of Bates Motel, developed by Carlton Cuse, Kerry Ehrin, and Anthony Cipriano and directed by Tucker Gates, serves as a compelling and atmospheric introduction to the dark, psychological world that reimagines the origins of Norman Bates, the infamous character from Alfred Hitchcock's Psycho. This episode skillfully blends suspense, character study, and a brooding sense of unease, setting the tone for a series that explores the complex and often toxic relationship between Norman and his mother, Norma.

The narrative begins with a haunting and pivotal moment: Norman Bates (Freddie Highmore) discovers the corpse of his father, Sam Bates, in the family home. This discovery is not only a catalyst for the unfolding drama but also a symbolic representation of the fractured family dynamic that will dominate the series. The opening sequence is charged with tension and foreboding, underscored by Highmore's nuanced portrayal of Norman-a shy, socially awkward teenager whose innocence is shadowed by an undercurrent of psychological disturbance. His tentative interactions with his mother, Norma (Vera Farmiga), reveal a deeply codependent and complex bond, foreshadowing the emotional and psychological entanglements that will define their lives.

Norma's character is immediately established as a fiercely protective and resourceful woman, grappling with the recent loss of her husband while attempting to provide stability for her sons. Farmiga delivers a powerful performance, capturing Norma's vulnerability, determination, and simmering anxiety. The episode deftly explores her motivations, including her decision to purchase the dilapidated Bates Motel in the coastal town of White Pine Bay, Oregon, as a means to start anew. This setting-a small, eerie town with its own secrets-becomes a character in its own right, reflecting themes of isolation, decay, and hidden darkness.

The arrival of the motel's former owner, Keith Summers, introduces an immediate external threat, as he attempts to intimidate Norma into relinquishing the property. This conflict not only propels the plot but also highlights Norma's resilience and willingness to confront danger head-on. The episode also introduces key supporting characters, including Norman's older brother Dylan (Max Thieriot), whose troubled past and rebellious nature contrast with Norman's introversion, adding familial tension and depth.

Stylistically, the episode benefits from Tucker Gates's careful direction, which balances intimate character moments with suspenseful sequences. The cinematography employs muted colors and shadowy compositions that evoke a sense of unease and impending doom, reminiscent of Hitchcockian suspense while maintaining a contemporary sensibility. The editing maintains a deliberate pace, allowing the psychological tension to build gradually without sacrificing narrative momentum. The sound design and score further enhance the atmosphere, weaving subtle cues that underscore the characters' emotional states and the story's darker themes.

One of the episode's most memorable scenes is Norman's awkward and unsettling encounter at a high school party, where his social isolation and internal struggles are laid bare. This scene not only humanizes Norman but also hints at the psychological complexities that will unravel as the series progresses. The interplay between Norman's innocence and the darker impulses lurking beneath the surface is a central thematic thread, expertly introduced here.

Thematically, "First You Dream, Then You Die" explores motifs of family dysfunction, trauma, and the blurred boundaries between love and control. The episode sets up the mother-son relationship as both nurturing and suffocating, a dynamic that will drive much of the narrative tension. It also touches on themes of identity, secrecy, and the haunting legacy of past violence, positioning the series as a psychological thriller that probes the origins of evil rather than merely depicting its consequences.

Critically, the episode was well received for its strong performances, particularly from Farmiga and Highmore, and its atmospheric storytelling. Some critiques pointed to the challenge of living up to the iconic status of Psycho, but most agreed that the show carved out its own compelling space by focusing on character depth and psychological nuance rather than mere homage. The pilot successfully establishes a mood of creeping dread and emotional complexity, promising a series that is as much about internal horror as external threats.

"First You Dream, Then You Die" is a masterful pilot that lays a solid foundation for Bates Motel's exploration of psychological trauma and familial bonds. Through compelling performances, evocative direction, and a richly layered narrative, it invites viewers into a world where the ordinary masks the sinister, and the past's shadows loom large over the present. The episode not only honors the legacy of Psycho but also expands it, offering a fresh and haunting perspective on one of cinema's most enigmatic characters.

The setup for this show is great and the dark, horrorific tone of this show has me excited for the episodes to come. The casting of Vera Farminga as Norma Bates was perfect. Can not wait to see where Bates Motel goes from here!